So Potent Art, by Emily Carding by Llewellyn Worldwide, LTD.

An illustration of the original Globe Theatre, Bankside, Southwark, London, England

Art ‚ Praise for

So Potent

“Brilliant, practical, witty, and accessible, Carding gifts great insight throughout, sensitively introducing the reader to Shakespeare, magic, and the creative light that can shine from and through all of us.” —Ben Crystal, author of Shakespeare on Toast “This is a glorious book—and long overdue. There have been other works that looked into Shakespeare’s magical life but nothing as thorough or enlightening as this. Emily Carding is to be congratulated for her work and for opening the doors to a magical realm.”—John Matthews, author of How to See Faeries “‘There are more things in heaven and earth, Horatio...’ and Emily Carding explains it all to you in this practical and informed new book. With a lovely wit and Shakespearean expertise, Carding shows how two seemingly unrelated subjects—magic and Shakespeare—are inextricably entwined and extraordinarily powerful.”—Austin Tichenor, artistic director of the Reduced Shakespeare Company

Emily Carding holds a BA (hons) in theatre arts from Bretton Hall and an MFA in staging Shakespeare from the University of Exeter. She is an initiate of the Alexandrian Wiccan tradition and has been working with tarot for over twenty-five years. Emily is the creator of several tarot decks, including The Transparent Tarot (Schiffer), and she’s the author of Faery Craft (Llewellyn). Additionally, she is the illustrator of Gods of the Vikings (Avalonia Books). As an actor she is best known for her international tour of the award-winning one-woman show Richard III by Brite Theatre. Emily lives in Hastings, East Sussex, England.

Llewellyn Publications | Woodbury, Minnesota

So Potent Art: The Magic of Shakespeare © 2021 by Emily Carding. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever, including internet usage, without written permission from Llewellyn Publications except in the case of brief quotations embodied in critical articles and reviews.

first edition First Printing, 2021 Cover design by Shira Atakpu Edit and book design by Rebecca Zins Interior artwork from Getty Images Llewellyn is a registered trademark of Llewellyn Worldwide Ltd. Library of Congress Cataloging-in-Publication Data Names: Carding, Emily, author. | Matthews, Caitlín, author of foreword. Title: So potent art : the magic of Shakespeare / Emily Carding ; foreword by Caitlín Matthews. Description: Woodbury : Llewellyn Worldwide, Ltd, 2021. | Includes bibliographical references and index. | Summary: “So Potent Art is a study of the esoteric content of Shakespeare’s works and the possible practical use of his work for modern magical practitioners. It is of interest to both lovers of theatre and magic alike, with both academic and practical appeal, encouraging a creative approach from which further individual work can grow”—Provided by publisher. Identifiers: LCCN 2021005114 (print) | LCCN 2021005115 (ebook) | ISBN 9780738756790 (paperback) | ISBN 9780738756943 (ebook) Subjects: LCSH: Shakespeare, William, 1564–1616—Knowledge and learning. | Magic. | Magic in literature. | Renaissance—England. Classification: LCC PR3004 .C37 2021 (print) | LCC PR3004 (ebook) | DDC 822.33—dc23 LC record available at https://lccn.loc.gov/2021005114 LC ebook record available at https://lccn.loc.gov/2021005115 Llewellyn Worldwide Ltd. does not participate in, endorse, or have any authority or responsibility concerning private business transactions between our authors and the public. All mail addressed to the author is forwarded but the publisher cannot, unless specifically instructed by the author, give out an address or phone number. Any internet references contained in this work are current at publication time, but the publisher cannot guarantee that a specific location will continue to be maintained. Please refer to the publisher’s website for links to authors’ websites and other sources.

Llewellyn Publications A Division of Llewellyn Worldwide Ltd. 2143 Wooddale Drive Woodbury MN 55125-2989 www.llewellyn.com Printed in the United States of America

To my endlessly supportive love Stephen, whom I first terrified at the Globe, and to all who have walked the pathways of these mysteries.

Contents

‚ Foreword by Caitlín Matthews, xi Introduction, 1

One: Shakespeare’s Magical World…11 Two: Hermetic Shakespeare…27

exercise: Creating Sacred Space, 56

Three: The Tree of Life…61

exercise: Finding Your Voice, 74

Four: Alchemy and Magic…77

exercise: Animating the Statue, 109

Five: Ghosts…113

exercise: Shakespeare’s Ghosts Tarot Spread, 131

Six: Fairies…137

exercise: Meditation Journey to Meet Titania and Oberon, 160

Seven: Witches…163

exercise: World Soul Visualisation, 179

contents

Eight: Oracles and Omens, Prophecies and Portents…183 exercise: Bibliomancy, 199

exercise: Rhapsodomancy Cut-Up Technique, 201

Nine: Invocation…203

exercise: Use Shakespeare’s Words to Create an Invocation, 234 exercise: An Invocation to a Shakespearean Character, 235

Ten: Plants, Herbs, and Trees…237

exercise: Create a Charm Bag for Inspiration, 256

Eleven: Shakespeare’s Modern Magicians…259 exercise: Offerings to the Spirits of Place, 276

Twelve: Creating Ritual Theatre…279

exercise: Create Your Own Piece of Ritual Theatre, 316 Epilogue, 319 Acknowledgments, 323 Bibliography, 325 About the Author, 329 Index, 331

Foreword

‚

An Unassailable Weaving When we go reaching into the magical world of Shakespeare, we unveil not only the life of the sixteenth and early seventeenth-century theatre, but also the concepts upon which Renaissance magic drew—those ancient mysteries of the natural philosopher who was the wiser before modern science had been invented. These natural philosophers were themselves the successors of medieval magicians, who were in turn the inheritors of the classical mysteries: for each of them, the natural world and the unseen world were of one weaving, not confined to separate boxes as in our own time. The word mystery is used here in its older sense of “a skill or art that belongs to professional practitioners,” as when Othello bids Emilia to exercise her mystery as maidservant, and like a good Emilia, Emily Carding evokes Shakespeare’s enchanting art for us, both with the skill of a performer and a producer, combining the acting of the rude mechanical Bottom with the high conductive magic of Prospero as she draws us deeper into the magical world of Shakespeare. The secret art of theatre magic, of enacting and embodying the hidden world, is, of course, an actor’s mystery, showing us what we have not yet seen and might not be able to imagine without their help. While we enjoy the play’s unfolding of Shakespeare’s many stories, we may be less aware of the supporting structures that go into the evocation of this magical world. That Shakespeare was evoking his plays upon the drawing board of the elements, the planets, and the music of the spheres should not surprise us, as he was both heir to the beliefs of the pre-Reformation world where magic was a tangible force and where nature spoke directly to the shepherd, but also to the new learning that was

for ewor d aboard, revealing the classical and ancient understandings of myth. Shakespeare was ancestrally open to the cardinal virtues of faith, hope, and charity, as well as to the world of divination, the alchemical processes, and the revolution of the heavens. Just as country people were still putting out dishes of cream for the faeries with rustic folk charms and songs, so educated Hermeticists like Elizabeth I’s adviser, Dr. John Dee, were invoking angels in good Latin. While Catholics and Puritans were both under threat of fines or worse for their lack of conformity to the Anglican Church, playwrights like Shakespeare were reaching even deeper than the Bible into the book of the ages to bring up the magical tales of Ovid, the ancient Chronicles of Britain, and the enchanted tales of times past, weaving them all into one unassailable mantle of magic. This is what defines what is magical, this fusion and interweaving of one world with the other: the world of everyday disappointment and struggle with the creative world of the spirit that transcends all pain. The richness of this book takes us deeply down into Shakespeare’s text, which, if you read it rightly, will also tell you how to move and act; as all actors will tell you, these movements are not the obvious signposts of stage directions like “exit pursued by a bear” or “enter severally,” but the implicit movements embedded in any of his plays. For, as you read, you gradually understand that implicit gestures, movements, and speeches transport your body to act and move with the text. All that made up the actor in Shakespeare ensured that we could understand it too. And so, since magic has to be performed and enacted, the reader is invited to engage with the text, to perform and bring forth the hidden world that is threaded through each play, to reveal the sparkling heavens, the vasty deep, and the glory of the universal globe in ritual, meditation, and sacred rite. May you proceed peacefully on the way that unfolds before you, for you step with sure guidance, knowing that no ghost will “forebear thee…nor any ill come near thee.” I am very glad to have been the beadswoman of Emily Carding’s wonderful book, which, like a dear friend, comes in her place to guide you to this so potent art. May it mantle you about and bring you to blessedness!

Caitlín Matthews

oxford, 8 june 2020

xii

Introduction

‚

Ye elves of hills, brooks, standing lakes and groves, And ye that on the sands with printless foot Do chase the ebbing Neptune and do fly him When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid, Weak masters though ye be, I have bedimm’d The noontide sun, call’d forth the mutinous winds, And ’twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire and rifted Jove’s stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck’d up The pine and cedar: graves at my command Have waked their sleepers, oped, and let ’em forth By my so potent art… —The Tempest, act 5,

scene

i ntr oduction Thus speaks Shakespeare’s beloved mage Prospero in what is commonly thought of as his final play, and it is from this speech we take the title of this book. Many believe that Shakespeare based Prospero on himself at the end of his life, and that the breaking of his staff of power took the place of a broken quill that would write no more, a symbol of magic for the power of his words. But what if the comparison could be taken more literally? It is also thought that Prospero was Shakespeare’s tribute to the queen’s astrologer and famed occultist John Dee, but what if Shakespeare himself was knowledgeable in the magical arts and wove them into his writing? So Potent Art will take you on a journey through Shakespeare’s works and unveil the mysteries within.

Enter Shakespeare’s World… Shakespeare’s works were borne from a political and spiritual climate in flux. Modern science as we know it began to emerge and separate from its mother philosophies. Knowledge of the power and symbolism of the elements, alchemy, and the planets was still prevalent, as was a system of belief and practice known as Hermeticism, the chief principle of which was the interconnection of all things. There were also Christianized versions of ancient Jewish mysticism known as the Cabala at the forefront of the philosophical wisdom of the time, but these beliefs were giving way to what was to become more modern thinking. The course of Shakespeare’s life and work spanned the shift from the occult and alchemical bias of the Elizabethan age through to the humanist beliefs of the Jacobeans, yet as his contemporaries such as Marlowe and Jonson embraced the new perspective and cast scorn upon magical thinking, Shakespeare’s works are steeped in classical romanticism and ancient lore. Dig deeper into the symbolism of his fantastical Winter’s Tale and you will find echoes not only of the Eleusinian Mysteries of ancient Greece but also the Hermetic text Asclepius. Appropriately, there is much Cabalistic wisdom to be found in The Merchant of Venice, and whilst the magical content of plays such as A Midsummer Night’s Dream, The Tempest, and Macbeth might appear to be obvious, there are many layers of meaning and symbolism to explore and much hidden wisdom to reveal. This esoteric level of meaning can be found throughout Shakespeare’s works alongside more overt references. Tragic events are often foretold by prophecy; herbs are used as both curse and cure; gods and goddesses may be called upon to play their part; and all

i ntr oduction comedies work through an alchemical process towards their sacred marriage. Of course, Shakespeare didn’t only write plays, and we will also be looking at the secrets that may be gleaned from the sonnets and other poetry. Whilst it is fascinating to explore this content from an academic viewpoint, as previous works by authors such as Frances Yates have done (and whose studies of Shakespeare’s last plays in particular are invaluable), in So Potent Art we will be taking a further step and finding ways of applying this wisdom in our lives and incorporating it into our practices.

Is This Book for Me? If you are a lover of Shakespeare’s work, or even just drawn to his words and intrigued by the promise of “more things in heaven and earth…than are dreamt of in your philosophy” (Hamlet, act I, scene 5), then yes. If you are a magical practitioner who wants to bring poetry and theatre into your practice, then yes. If you are an actor or theatre practitioner who wants to bring a dimension of magic and spirit to your understanding and performance, then yes. And if you are none of these things, but the light of curiosity is lit within your soul and you have read so far and wish to continue reading, then yes, this book is for you. Welcome.

What Is the Magic of Shakespeare? Oh yeah, but the theatre’s magic, isn’t it? You should know. Stand on this stage, say the right words with the right emphasis at the right time. Oh, you can make men weep. —The Doctor, Doctor Who, “The Shakespeare Code” Starting with the broadest and yet most concise definition of magic as a discipline, it is best described as the art of causing change to our outer and/or inner reality in accordance with our will (how appropriate that this should also be Shakespeare’s first name). This is meant, of course, as something quite separate from the art of stage magic or illusion, yet since we are “treading the boards” as the subject of this work, the distinction

i ntr oduction will be made clear should it become necessary. However, in the context of this work, “magic” may also be taken to mean the esoteric mysteries contained within Shakespeare’s work. Some of these references are in plain sight and some are hidden except from those with eyes to see. However, “the magic of Shakespeare” does not only mean those references and secrets to be found within the works. There are many ways in which the works may be taken and adapted for magical intent with a modern or postmodern approach. The act of speaking his words or invoking his archetypal characters with a magical intent and in a repurposed context can be a powerful tool for ritual and self-development. This book’s aim is to make Shakespeare’s work, and the magic and mysteries contained within it, not only accessible but also useful to the reader.

How Is It Useful? So Potent Art is ordered into twelve chapters. We begin with an introduction into the world of Shakespeare’s lifetime that will provide a foundation to our understanding, looking at the political, philosophical, and spiritual influences that surrounded and informed him. In this chapter we will look at source material that was likely available to Shakespeare at the time, such as Agrippa’s Three Books of Occult Philosophy, Ovid, The Chaldean Oracles, and the Hermetica. We will also look at Shakespeare’s fellow writers of the time and compare the attitude to magic within their works. Looking at the lives and works of notable figures such as John Dee, Francis Bacon, Giulio Camillo, Giordano Bruno, and Robert Fludd, we will see how all these influences helped create the landscape of Shakespeare’s plays in the form of the sacred architecture of the theatres themselves. The next three chapters of the book cover different categories of magic and the mysteries that may be found within Shakespeare’s works. This begins in the second chapter with an examination of the Hermetic content of the works, noting how mentions of the elements and planets may inform our understanding of character, and ends with an exercise that gives a Shakespearean twist to setting up sacred space! Chapter 3 looks at the Cabalistic imagery within the works and how characters might be seen to relate to the Tree of Life. Chapter 4 looks at another aspect of Renaissance philosophy, namely alchemy, and reveals how many of Shakespeare’s plays can be seen to have an alchemical structure or take his characters through alchemical journeys of initiation.

i ntr oduction There’s a shift of focus as we move into chapter 5 and look at otherworldly beings, starting with ghosts and hauntings, moving into the realm of Fairy in chapter 6, with chapter 7 delving into the world of witches, witchcraft, and embodiments of fate, with surprising revelations about Macbeth. The eighth chapter continues the theme of fate with an exploration of the themes of divination, prophecy, and oracles. The ninth chapter looks at encounters with deity and how Shakespeare wrote powerful invocations to gods, goddesses, and lesser spirits both good and evil, how these powers are called upon for blessings and curses, and how we might use these to enrich our own lives. The tenth chapter looks at how Shakespeare used the rich language of plants in his work and how understanding this language can bring a deeper understanding of the plays, as well as how we can use this knowledge practically. Each of these chapters is accompanied by practical suggestions, rituals, and exercises for you to try that will enhance your understanding not only of Shakespeare’s work but also of yourself. Chapter 11 returns to the modern day and a more generalised look at the connection between theatre and magic and why it is still relevant. This includes the concept of theatre as magic, the theatre building as a temple, and the actor as a magician, from the common roots in the ritual theatre of ancient Greece to those who consciously combine (or recombine) the disciplines today, and the possible applications and benefits outside the world of theatre. The final chapter embraces a creative postmodern aesthetic and guides you through the process of creating your own piece of ritual theatre using Shakespeare’s words. Not only is this chapter full of creative suggestions, but it also includes an example of a finished piece of ritual theatre created entirely from reordered Shakespeare. We look at the power inherent in the language itself, the significance of iambic pentameter, and how our postmodern world could relate more to Shakespeare’s early modern work than we might initially think.

Now Take My Hand… The creation of this book has been a long journey, with many adventures along the way, some joyous, some challenging. As soon as I got my place at the University of Exeter

Fear Not!

Maybe you’ve picked up this book because you’ve seen a couple of productions and you think the concept of Shakespeare and magic is cool but the language is still a bit of a barrier. Don’t worry! It’s true that this is a deep dive into the mysteries of Shakespeare’s works and may seem daunting to beginners, but if you need extra help understanding any of the passages we’re looking at or you need more information and background to the plays, then there are some excellent online resources available to help you, including modern “translations.” If this would be helpful to you, try https://www.nosweatshakespeare.com/. A quick online search for “Shakespeare resources” will bring up a whole realm of delights! There are also some wonderful productions available to view online, which is the best way to get to know the plays. Check out https://globeplayer.tv/ for productions from Shakespeare’s Globe, and search for “The Show Must Go Online” on YouTube for all of the Shakespeare plays performed on Zoom, the online conferencing software that became a lifeline during the global pandemic. While we’re looking at online resources, since many different versions and edits of Shakespeare’s works exist, quotes are taken from opensourceshakespeare.org unless otherwise stated, so all readers should have access to the same source. You’ll also find this resource really useful when we get to some of the exercises later.

Paulina inviting Leontes to take Hermione’s hand

i ntr oduction on the MFA Staging Shakespeare course in 2012, I knew that I wanted my particular focus to be the practical application of the esoteric content of Shakespeare. With two residencies at Shakespeare’s Globe and spiritual pilgrimages to Italy led by the original artistic director of Shakespeare’s Globe, Sir Mark Rylance (considered possibly the finest Shakespearean actor of his generation), and his spiritual advisor Peter Dawkins, I couldn’t have asked for more inspiration. However, when writing my final thesis on the subject, I was also going through a very painful divorce and losing all stability in my life, including facing the fact I would have to leave the land I had built up such a special connection with in Cornwall. I count it one of my greatest achievements that I was able to finish the thesis at all, but it was not as strong as it could have been and I’ve always wanted to come back to the idea and develop it further. Whilst the focus of the thesis was on practical ways that actors could bring magical training into their work, much of the applied wisdom remains the same when looking at how magical and spiritual practitioners can use Shakespeare. This work formed the foundation of this book, and the last few years have been spent researching and practicing alongside building up my acting career, touring the world, and being a solo parent. What started as a thesis is now part theory and part lived experience, always with a practical gain for self-knowledge and illumination. I hope you’ll enjoy taking this journey with me. It is required You do awake your faith. Then all stand still; On: those that think it is unlawful business I am about, let them depart. —Paulina, The Winter’s Tale, act 5,

scene

I stand now as Paulina and invite you to believe in magic. Just as she invites Leontes to take the outstretched hand of the newly reanimated Hermione in the magical closing scene of The Winter’s Tale, I invite you to join me now in the journey through this book and see what new life can be breathed into our understanding of Shakespeare’s works and how that wisdom can enrich every aspect of our lives.

Though Shakespeare never wielded a wand, nor thought of himself as a magus, he is a magician, master of the spell-binding use of words, of poetry as magic.

F rances Y ates , T he O ccult P hilosophy in the E lizabethan A ge

‚ One

Shakespeare’s Magical World

hakespeare was living and working in a world where the esoteric was widely known and accepted as a part of science, but it was also a time of flux, when it was beginning to be dismissed and challenged by reactionary humanist thought. The occult philosophers of the time were such an influential part of society and so closely connected with the world of the expressive arts that they certainly would have been an influence on Shakespeare’s work, as indeed would those who preceded them and helped to build the world as it was.

Origins of Renaissance Occult Philosophy Esoteric discourse in Shakespeare’s time melded together thoughts from various cultures and belief systems. The main three strands that form the foundation

one: sha kes pear e’s magical wor ld of Renaissance philosophy are Neoplatonism, Hermeticism, and a Christianised version of the Jewish mystical tradition of Cabala.

Earth, Air, Fire, and Water The belief that the world was made of four elements, deriving from ancient Greece and the teachings of Empedocles (490 BCE–430 BCE), was prevalent at this time, and it should be remembered that what is now seen as mystery tradition teaching was then considered science, and it was during the Renaissance that modern science was born out of these ancient philosophies. The four elements in the macrocosm of the outer world are also reflected in the four humours of the microcosm, or inner world, a system first attributed to Hippocrates (460 BCE–370 BCE). These four humours, which formed the basis of medical diagnosis right up to the nineteenth century, were “blood” (air), “yellow bile” (fire), “black bile” (earth), and “phlegm” (water). These were also known as the sanguine (air), choleric (fire), melancholic (earth), and phlegmatic (water) humours. The combination of these four humours at work within the body and mind were believed to explain personality types and illnesses, and thus a cure was attained by rebalancing the humours within an individual.

Hermes Trismegistus Hermeticism, a system of beliefs and practices based on the works of the philosopher known as Hermes Trismegistus, became extremely popular and influential during the Renaissance period. The collected works are known as the Hermetica or Corpus Hermeticum and were thought to be of ancient Egyptian origin, although now they are believed to be of a later period and of Greek origins. The core principles of this philosophical system, still popular amongst modern magical practitioners, are alchemy, astrology, and theurgy, the ultimate goal of which is to achieve perfection of the self by uniting with the gods (a process known as henosis) through prayer, evocation, and invocation. Another text that dealt with theurgy specifically and was an influence on Renaissance philosophy was the Chaldean Oracles, similarly mysterious in historical origins to the Hermetica but clearly Neoplatonic in thought.

one: sha kes pear e’s magical wor ld

Founders of Renaissance Neoplatonism Commonly credited with reviving these ancient philosophies and igniting the Renaissance Neoplatonic movement are Marsilio Ficino (1433–1499) and Giovanni Pico della Mirandola (1463–1494). The Italian scholar and Catholic priest Ficino is known for breathing life back into Hermetic philosophy, and the Florentine Pico della Mirandola is famed for his introduction of Christian Cabala (this spelling to differentiate from the traditional Jewish Kabbalah or modern esoteric Qabalah) to the philosophical synthesis. This was around the year 1492, when the Jews were exiled from Spain and the wisdom of their mystical teaching started to spread into new territories. It is thought by some, including scholar Frances Yates, that the philosophical teachings of the mystic Ramon Llull (1232–1316), whose aim was to form a bridge between the three major religions of Islam, Christianity, and Judaism, could be considered a version of Christian Cabala, and indeed there are some common elements, but Ficino and Pico were the first to bring Hermeticism and Cabala together as a united philosophy. This fusion of Hermeticism and Cabala was first named “occult philosophy” by Cornelius Agrippa, author of Three Books of Occult Philosophy (first printed in 1531), which is still valued not only as a reference book but for its practical applications today. Pico and Ficino inspired a number of other pre-Elizabethan Renaissance scholars, including Johannes Reuchlin (1455–1522), a German scholar who was fluent in Latin, Greek, and Hebrew, best known for De Verbe Mirifico (1494) and De Arte Cabalistica (1517), which is the first work on the Cabala written by a non-Jew. The artist Dürer (1471–1528) was inspired by occult philosophy in his work, and it’s thought that his images featuring the melancholic humour contain details from Agrippa’s text. Also bridging the gap into the Elizabethan era was the Franciscan monk Francesco Giorgi, a Christian Cabalist, whose works De Harmonia Mundi (1525) and Problemata (1536) were highly regarded. Another extremely influential scholar of this time was the Swiss-German scientist and alchemist Paracelsus (1493–1541), who reinvented the system of the four humours and instead considered there to be three humours at work within the human body, inspired by alchemy. These were salt, sulphur, and mercury, representing the body, soul, and spirit in turn, and he considered the balance between these alchemical humours as the key to health and well-being. A pioneer of toxicology and chemical cures for maladies, he also believed in astrology and the influence of stars and planets.

one: sha kes pear e’s magical wor ld

The Faerie Queene In her fair eyes two living lamps did flame, Kindled above, at the heavenly Maker’s light, And darted fiery beams out of the same, So passing piersant, and so wondrous bright, That quite bereaved the rash beholder’s sight. —Edmund Spenser, The Faerie Queene, 1590 Elizabeth I ascended to the throne in 1558 and reigned until her death in 1603. The mysterious and seemingly untouchable Virgin Queen was a fitting monarch for the golden age of the Renaissance. Both her appearance and inner power were of such a mythic quality that she inspired great art and poetry, such as Spenser’s Faerie Queene. It is fairly well known that Elizabeth I took guidance from a court astrologer, a role filled by the legendary John Dee (more about him later), and it’s thought she may have even used magical assistance to conjure the storms that aided the defeat of the Spanish Armada in 1588, something we cannot know for certain. What is certain is that she carefully crafted an image and atmosphere around herself that transcended mortal limits and became an icon of archetypal feminine beauty, intelligence, and strength.

Elizabeth as Goddess Frances Yates has written extensively on the subject of the mythologizing of Elizabeth as the goddess Astraea and various guises of moon goddess throughout the literature of the time, including Shakespeare. Of course, it is during Elizabeth’s reign that Shakespeare established himself as a poet and playwright, with current understanding placing his writing between the years 1590–1614. It is fascinating to note that with the possible exception of the supposedly negative portrayal of magic in Macbeth (although I would suggest that the portrayal of witchcraft in Macbeth has far more depth and complexity to it than has perhaps popularly been imagined, and we will look at this in more detail later), Shakespeare’s plays become more openly and overtly magical in the less receptive Jacobean era, when his contemporaries were more in line with current political and religious thought. There appears to be a nostalgia for the Elizabethan age and a desire to rekindle a more magical way of thinking,

one: sha kes pear e’s magical wor ld whilst such thought was being brutally persecuted in Europe and becoming increasingly dangerous at home.

John Dee Some people are affected more by tragedies, others by comic melodies, and others are affected generally in all cases. Some even react like that barbarian general who, when he heard musical instruments played very skilfully, said he preferred the neighing of his horse. He clearly proved by this that he was a disgrace and was unworthy of appearing to be human (Bruno 1998, 135).

One can’t help but wonder whether it was blunt talk like this that cost Giordano Bruno his life at the stake in Rome in 1600. Certainly this key cultural figure appears to have been a very outspoken advocate of occult philosophy at a time when humanist beliefs were on the rise, and his execution at the turn of the century was not only symbolic of a significant shift in society but also a warning to all of the dangers of magical thinking. He spent a great deal of time in England during Shakespeare’s working life, and his philosophical thought, together with a progressive approach to science and mathematics, had much in common with his more cautious contemporary John Dee (1527–1608). Historian Frances Yates has observed that the mystical tradition to which Dee belonged, with his Hermetic beliefs and Vitruvian principles, “is the tradition to which a growing interest in stagecraft would have looked to for advice and assistance” (Yates 1969, 32). As the queen’s astrologer and mathematical advisor, Dee is still an iconic figure today and a representative of Elizabethan as opposed to Jacobean culture. His involvement in the development of stagecraft in early modern England is undeniable. Not only was he known as a creator of spectacular and seemingly magical theatrical machines, such as a flying scarab that he created while a fellow at Trinity College, but he is also considered to be responsible for the popularity of Vitruvian principles. It is from these principles that we derive the concepts of microcosm and macrocosm, which are of profound significance in the forming of the early theatres, particularly the Globe, whose very name is evocative of this principle. Though scarcity of evidence prevents us from knowing to what extent the construction of the early theatres were influenced by such esoteric thought, we will look later in this book at how they were most certainly present in the construction of Shakespeare’s

one: sha kes pear e’s magical wor ld Globe, which stands on London’s South Bank today. However, it seems very likely that Dee’s experiments and designs of moving statues were in Shakespeare’s mind when he wrote the magical closing scene of The Winter’s Tale and that Dee was an inspiration not only for Shakespeare’s magus character of Prospero in The Tempest, but also for the less favourable magicians of Marlowe’s Dr. Faustus and Jonson’s The Alchemist. The contrasts between these three plays neatly illustrate the differences between Shakespeare and the most well-known of his contemporary playwrights in terms of attitudes to magic and its practitioners. Ben Jonson used satirical comedy in The Alchemist as a “general attack upon the claims of occultists, prophetic poets, or any other enthusiasts to have special insight into the nature of reality” (Mebane 1992, 148), and although Marlowe’s Dr. Faustus presents the alluring prospect of attaining power, riches, and wisdom through occult means, his ultimate punishment of being dragged to hell shows in the end that the “radical or rebellious impulses in Faustus himself are continually undermined by a series of images and ironies which insist on a conventional Christian orthodoxy” (Mangan 1987, 102). On the other hand, we find in The Tempest “a just judge, or a virtuous and reforming monarch, who uses his magico-scientific powers for good” (Yates 1975, 94). At the play’s conclusion, his work is done, and in what is both a parallel and a polar opposition to Marlowe’s Faustus—who, despairing, asks that his colleagues pray for him—Prospero asks for the audience’s “indulgence”—that they should put their hands together in the prayer of applause—to “set him free” so that he may ultimately ascend to heaven.

John Dee

Giordano Bruno

one: sha kes pear e’s magical wor ld

The Jacobean Age James VI of Scotland became James I of England upon Elizabeth’s death in 1603 and reigned until his death in 1625. As the Elizabethan Age of Hermetic philosophy gave way to the Jacobean Age, with its witch-hunts and paranoia about magical practice and occult philosophy, Dee fell out of favour. However, Shakespeare thrived under James’s reign, with the monarch’s love of theatre prompting him to give patronage to Shakespeare’s troupe, who then appropriately renamed themselves “The King’s Men.” Whilst Marlowe’s Faustus (written in Elizabethan times) painted magical pursuits as shallow and ultimately dangerous for the immortal soul of the magician, and Jonson, writing in the less-favourable Jacobean era, chose to kick the magus while he was down in his scathing portrayal of Dee, Shakespeare urged us to rescue him from the isolation and disgraced state that Dee had been reduced to. Although Dee did not meet the dramatic end of Giordano Bruno, having wisdom enough to see that the political climate in Italy would be violently unfavourable towards him, he died utterly poverty-stricken and outcast from society. It was a brave political move on Shakespeare’s part to portray magic and the magician so favourably in his post-Elizabethan masterpiece The Tempest and a bold statement indeed for what is widely considered to be his final noncollaborative work.

Did Dee and Shakespeare Meet? It seems likely that Dee and Shakespeare would have known each other; after all, why would he choose to make so powerful a statement if they were not at least acquainted? However, since so little is known of the details of Shakespeare’s life, it is difficult to say how well. Perhaps Shakespeare might have studied in Dee’s library? Frances Yates notes that according to Dee’s diaries, clerks and record keepers would often visit Dee’s library in order to find rare tomes and papers that were not available elsewhere, which she observes gives “an interesting glimpse of the use of Dee’s house as a kind of combined British Museum and Public Record Office” (Yates 1969, 16). Although she doesn’t directly link the statement to Shakespeare, Yates also notes of the contents of the library that “A reader who knew no Greek and not much Latin could use Dee’s library” (Yates 1969, 12), which brings to mind Ben Jonson’s tribute to the author, a line of which famously reads “And though thou hadst small Latin and less Greek…” Whether or not Shakespeare had access to Dee’s extraordinary library at Mortlake, there are certain key texts that were so popular at the time he would almost certainly

one: sha kes pear e’s magical wor ld have been familiar with and whose influence can be seen in his work. The two works most relevant to this discussion are the Corpus Hermiticum or Hermetica (which also includes the Asclepius) and Cornelius Agrippa’s Three Books of Occult Philosophy.

Prospero’s Books The Corpus Hermeticum is a book of ancient Greco-Egyptian philosophy of mysterious origins that teaches principles regarding the seven planets, the four elements, and the nature of divinity in the form of a dialogue between a teacher/father figure and his pupil/son. The mythical Hermes Trismegistus (“thrice-honoured”) was the Greek equivalent of the Egyptian god Thoth, and the true name of the presumably mortal author of these works remains unknown. That does not, however, diminish the legacy of the Hermetica, the principles of which were known in Shakespeare’s time to scholars and laypeople alike. Cornelius Agrippa, in contrast, was a contemporary of Shakespeare’s whose weighty tome has been the primary sourcebook of Western eoteric tradition for the last five hundred years. Unlike the oft-opaque philosophical musings of the Hermetica, Three Books of Occult Philosophy is highly practical and instructive in all manner of occult and magical practices, including the powers and influences of the planets and how to harness them, magical alphabets, geomancy, necromancy, the elements, the power of music, the power of numbers, divination, and the Kabbalah. Interestingly, Agrippa also has much to say on the simple power of words, a most important principle when considering a magical dimension to theatrical performance: Words therefore are the fittest medium betwixt the speaker and the hearer, carrying with them not only the conception of the mind, but also the virtue of the speaker…oftentimes they change not only the hearers, but also other bodies and things that have no life (Agrippa 1993, 211).

Francis Bacon No overview of major figures of Renaissance philosophy would be complete without mention of Francis Bacon (1561–1626), one of the most significant contributors to knowledge of the age and not only a contemporary of Shakespeare’s but also one of the chief alternative candidates for the authorship of his works. Although his main career

one: sha kes pear e’s magical wor ld was within the field of law, firstly as chief counsel to Elizabeth I and then progressing to the lofty heights of the title “Baron Verulam” under James I, he is also credited with being the founder of the empirical method in modern science. Although alchemy and science were still very much hand-in-hand at the time he was working, the extent to which Bacon may or may not have subscribed to magical practices remains a subject for debate. Whilst extremely Christian and reflecting the Neoplatonic philosophies of the time, his writings appear for the most part to be highly sceptical of occult practices and thinking. For example, his view on divination and prophecies, as clearly stated in his essays, was that “they ought all to be despised…almost all of them…have been impostures, and by idle and crafty brains merely contrived and feigned after the event past” (Bacon 2008, 404). Despite his rational approach and scientific method, albeit all in the service of what he held to be the “true god,” there are certainly symbolic depths to his philosophical works that have led many to theorise not only that he was the secret author of Shakespeare’s works (it is known that at the very least he wrote poetry and was involved in writing and organising the revels at Gray’s Inn), but also that he was a Rosicrucian and perhaps an alchemist. One of the richest pieces of his writing for this mode of thinking is his unfinished utopian fable New Atlantis, in which travellers are welcomed to an idyllic island and learn of the spiritual priorities of the inhabitants. He talks of the establishment of an order known as “Salomon’s House” that was “dedicated to the study of the Works and Creatures of God” and was established to trade not in material goods “but only for God’s first creature, which was Light” (Bacon 1996, 472). It is no wonder with writings like these that many have theorised Bacon may himself have been a Rosicrucian or more deeply involved in esoteric practices than popular history tells us. Could the reference to Salomon’s House (Salomon being an alternative spelling of Solomon) in any way infer familiarity with that most famous of grimoires, the Key of Solomon, or is it simply a biblical reference? As to the extent of his influence or involvement in the works of Shakespeare, we can only theorise about that too. An in-depth analysis of this possibility may be found in Peter Dawkins’s The Shakespeare Enigma, in which the author comes to the conclusion that the Shakespeare work is really a group work, led by the group’s “Apollo” or master artist, in the manner of a Renaissance studio, and that they had an extraordinary vision to follow and an unfolding plan to carry out—a plan that

one: sha kes pear e’s magical wor ld was somehow in harmony with certain celestial events and time-cycles of the world…so that one day, once we are through the dark crucifying materialism that Bacon himself foresaw the possibility of and prayed would not happen, there might be a golden age or heaven on earth, for everyone and everything (Dawkins 2004, 414).

Whether or not he was involved in the authorship of the plays, the investigation of the question has led to the unveiling of some fascinating esoteric depths within the plays and sonnets.

Divine Camillo Another relevant contemporary of Shakespeare’s is Giulio Camillo, whose Hermetic memory system took the form of a small round wooden theatre known as a “memory theatre,” where the observer would not sit in the audience but rather stand in the place of the actor. Designed as an aid to remarkable feats of memory, the system involved the visualisation of objects placed within a specific landscape of locations that would represent certain words or notions. There are workable versions of his system that utilise only visualisation, but the physical structure itself was a wonder to behold, built on Hermetic and Cabalistic principles with a seven-fold structure: “The theatre rises in seven grades or steps, which are divided by seven gangways representing the seven planets” (Yates 1992, 141). Camillo was a much-loved public figure, known as “divine Camillo,” and though it cannot be proved, one wonders if Shakespeare did not find in his nobility inspiration for his character of the same name in The Winter’s Tale. In what is possibly her finest and most popular work, The Art of Memory, Frances Yates theorises that not only were the first theatres potentially inspired by Camillo’s model, but that his successor in philosophy, Robert Fludd, may well have used the actual Globe stage as the theatre for his memory exercises. In our postmodern times of instant information retrieval on the internet, we marvel at the memory feats achieved by actors in Shakespeare’s time. Though we know relatively little about their process, we know there was very little time for rehearsal and that they held a great number of plays in their memory at any given time, often with only a few days to learn their parts. It may be possible that they utilised something like these esoteric memory systems.

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The Globe The Globe Theatre was a magical theatre, a cosmic theatre, a religious theatre, an actor’s theatre, designed to give the fullest support to the voices and gestures of the player as they enacted the drama of the life of man within the Theatre of the World (Yates 1969, 189).

Those of us who have stood in the incredible atmosphere of Shakespeare’s Globe, the modern reconstruction that has stood on London’s South Bank since 1997, have a sense of how extraordinary the “wooden O” that housed many of Shakespeare’s plays in his lifetime must have been. The design of these early modern playhouses, the first theatres in England, would seem peculiar to modern theatregoers otherwise: wooden constructions built using green oak, circular, with a large open area in the centre for the “groundlings” (the cheapest tickets for the lowest classes) to stand, with three floors of raised seating surrounding them—the higher the seat, the higher the status (and an extra penny would buy you the luxury of a cushion), all crowned with a thatched roof. There is something truly magical about the Globe that we have today (and we will look at that in much more depth later in the book), but how much magical intent might there have been behind the original construction? There’s certainly a powerful energy to be felt at the nearby archaeological remains of its sister theatre, the Rose. Yates’s passion for the theory of Vitruvian thinking behind the construction of the two original Globe theatres (it was rebuilt after burning down in 1613 and its replacement stood until 1644) is almost religious in its fervour, but sadly there is a dearth of archaeological evidence to prove or disprove it either way. We do know that the architect credited with reviving Vitruvian proportion in English theatres, Inigo Jones (1573– 1652), also known as Vitruvius Britannicus, was closely associated with Fludd and likely heavily influenced by the work of Dee, but we can only theorise that earlier constructions such as the Globe might have also shown these influences in their design. As the story goes, the original Globe was built by carpenter Peter Street at the behest of London’s most famous player of the time, Richard Burbage, using the wood from his first theatre, named simply the Theatre, which he had dismantled due to disputes with the owner of the land it was built on. Though we may know little of the intricacies and intent behind its design, the name of the theatre itself, the inclusion of the symbolic heavens above and “hell” beneath, and

one: sha kes pear e’s magical wor ld other Hermetic iconography such as the two pillars on the stage (although their original purpose may have been purely practical) does lend itself to the idea of the microcosm reflecting the macrocosm. Certainly Shakespeare himself makes this very clear in Jacques’s famous monologue from As You Like It, when he says “All the world’s a stage” (act 2, scene 7).

Metamorphoses: The Ovidian Influence Titus: Lucius, what book is that she tosseth so? Young Lucius: Grandsire, ’tis Ovid’s Metamorphoses; My mother gave it me. Marcus: For love of her that’s gone, Perhaps she cull’d it from among the rest. Titus: Soft! See how busily she turns the leaves! What would she find? Lavinia, shall I read? This is the tragic tale of Philomel, And treats of Tereus’ treason and his rape: And rape, I fear, was root of thine annoy. —Titus Andronicus, act 4,

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In the above quote from Titus Andronicus, Shakespeare references his source material for the play in a wonderfully meta moment. It is well known that Ovid, in particular his collection of poetic tales of mythic transformations known as Metamorphoses, was a huge influence on many playwrights in the Renaissance, particularly Shakespeare, and many of his magical allusions originate within this classical work. Though it’s possible that Shakespeare may have been able to read the poems in the original Latin, it is more likely that he would have used the popular English translation by Arthur Golding that was contemporary to his time. Writers of the time were not referencing the works to be especially clever or knowing—in fact, it was presumed that many of their audience would have been familiar with the work, since Ovid and the ancient myths contained within was an important part of the most basic education at the time, and this would have informed and enriched their enjoyment of the plays. The inclusion of Ovid is more a Renaissance equivalent of a pop-culture reference.

Titus Andronicus:

A Brief Summary

I once played Tamora in a production of Titus where the set was entirely white and all the cast were painted white and wearing entirely white (apart from Aaron the Moor, who was painted red), and by the end we were all extremely red. Because blood. This is a play about the cycle of bloody vengeance, with a Roman general, Titus, and the Queen of the Goths, Tamora, constantly upping the violence against each other, culminating in him baking her two adult sons in a pie and giving it to her to eat. This play also features what is possibly the first black power speech in English literature from Tamora’s lover, Aaron, when defending their mixed-race child. The play is an absolute hoot and ends with an enormous body count.

one: sha kes pear e’s magical wor ld Whilst all of Shakespeare’s works are littered with references to Ovid’s work and the ancient Greco-Roman myths, some of his works owe a greater debt to them than others. Apart from Titus Andronicus, which as shown above not only echoes themes but also makes direct reference to the works, and Cymbeline, which similarly has the heroine reading the Ovidian tale of Tereus and Procne, the most obvious examples are Shakespeare’s epic poem Venus and Adonis and one of his most popular comedies, A Midsummer Night’s Dream. The latter not only exquisitely parodies the tragic tale of Pyramus and Thisbe but the theme of lovers who are forced into extreme circumstances by the disapproval of their families runs throughout (this theme, of course, also forms the plot of Romeo and Juliet), including characters directly comparing their circumstances to Apollo and Daphne—mythological figures featured in Metamorphoses: The wildest hath not such a heart as you. Run when you will, the story shall be changed: Apollo flies, and Daphne holds the chase; The dove pursues the griffin; the mild hind Makes speed to catch the tiger; bootless speed, When cowardice pursues and valour flies —A Midsummer Night’s Dream, act 2,

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One of the most intriguing (and also blatantly lifted) appearances of Ovid within Shakespeare is the use of Medea’s invocation to Hekate from book 7 of Metamorphoses as Prospero’s farewell to his magical art—the very speech that opens this book and from which it takes its title. We will look at this speech in more detail both in chapter 9 when we work with invocations and in chapter 12 when we look at constructing ritual theatre using Shakespeare’s text as raw material. There is also direct comparison to be made with Ovid’s tale of Pygmalion, where a sculptor falls in love with a statue of his own creating and brings her to life with the magical closing scene of The Winter’s Tale. However, as you will see in the next section, there are far more intriguing and esoteric secrets within this play to be revealed when we look at the inspiration that Shakespeare drew from the books of the Hermetica by Hermes Trismegistus.

The Universe is, therefore, one, infinite and immobile. I say that the absolute possibility is one, that the act is one; the form, or soul, is one, the matter, or body, is one, the thing is one, being is one. The maximum, and the optimum, is one.

G iordano B runo All is one.

W illiam S hakespeare

Body, Mind & Spirit / Witchcraft “With a lovely wit and Shakespearean expertise, Carding shows how two seemingly unrelated subjects—magic and Shakespeare—are inextricably entwined and extraordinarily powerful.” —Austin Tichenor, artistic director of the Reduced Shakespeare Company

Omens, Alchemy, and Occult Wisdom in the Works of the Great Bard Shakespeare’s plays and sonnets are steeped in magic and esoteric lore. So Potent Art explores fascinating examples of astrology, alchemy, and Hermeticism in addition to herbalism, witchcraft, fairies, ghosts, and divine intervention. This book also reveals the deeper archetypal structures of the plays and shows how the sacred architecture of the historical theater space enhances Shakespeare’s magical themes.

Author Emily Carding, a Wiccan initiate and theater professional who specializes in staging Shakespeare, discusses the influence of esoteric writers such as Ovid, Agrippa, and John Dee on The Winter’s Tale, The Tempest, Macbeth, and other Shakespearean works. Each chapter is accompanied by practical suggestions, rituals, and exercises for you to try, enhancing your understanding not only of the great bard’s writings but also of yourself. Emily Carding holds a BA (Hons) in theatre arts from Bretton Hall and an MFA in staging Shakespeare from the University of Exeter. She is an initiate of the Alexandrian Wiccan tradition and has been working with tarot for over twenty-five years. Emily is the creator of several tarot decks, including The Transparent Tarot (Schiffer), and she’s the author of Faery Craft (Llewellyn). As an actor she is best known for her international tour of the award-winning Richard III (a one woman show) by Brite Theater. Emily lives in Hastings, East Sussex, England. Visit her online at www.EmilyCarding.com.

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